Most research and writing on railway history has been undertaken in a way that disconnects it from the wider cultural milieu. Authors have been very effective at constructing specialist histories of transport, but have failed to register the railway's central importance in the representation and understanding of modernity. This book brings together contributions from a range of established scholars in a variety of disciplines with the central purpose of exploring the railway less as a transport technology than as a key signifier of capitalist modernity. It examines the complex social relations in which the railway became historically embedded, identifying it as a central problematic in the cultural experience of modernity. It avoids the limitations of both the close-sighted empiricism typical of many transport historians and the long-sighted generalizations of cultural commentators who view the railway merely as a shorthand for the concept of progress over the nineteenth and twentieth centuries. The book draws on a diverse range of materials, including literary and historical forms of representation. It is also informed by a creative application of various critical theories.

In 1958 one of Britain`s greatest locomotive designers died without public fanfare or recognition, mourned only by his family. Yet William Stanier, arguably one of our greatest engineers and his leader, said of him that without his Chief Draughtsman all he achieved with the LMS would not have been possible. How could such a man slip from our view and remain anonymous, although his Princess Coronations, Black 5s and 8Fs are regarded as three of the finest classes of locomotive ever built? And today many survive as stars to grace the ever growing preservation movement.In reality, Tom Coleman was an intensely private and modest man who never sought recognition or commendation. His need for privacy may be one reason why his life has remained shrouded in mystery for so long, but finally his story has been slowly pieced together from a wide variety of sources, many previously untapped. So now we can see for ourselves his great contribution to railway history and recognise his singular talents.

Railway sleuth Les Summers unravels the politics and policies that led to the abandonment of steam traction under British Railways. In this fascinating account, he examines the twilight of steam in the era that shaped the future of our railways.

How to analyze data settings rather than data sets, acknowledging the meaning-making power of the local. In our data-driven society, it is too easy to assume the transparency of data. Instead, Yanni Loukissas argues in All Data Are Local, we should approach data sets with an awareness that data are created by humans and their dutiful machines, at a time, in a place, with the instruments at hand, for audiences that are conditioned to receive them. The term data set implies something discrete, complete, and portable, but it is none of those things. Examining a series of data sources important for understanding the state of public life in the United States—Harvard's Arnold Arboretum, the Digital Public Library of America, UCLA's Television News Archive, and the real estate marketplace Zillow—Loukissas shows us how to analyze data settings rather than data sets. Loukissas sets out six principles: all data are local; data have complex attachments to place; data are collected from heterogeneous sources; data and algorithms are inextricably entangled; interfaces recontextualize data; and data are indexes to local knowledge. He then provides a set of practical guidelines to follow. To make his argument, Loukissas employs a combination of qualitative research on data cultures and exploratory data visualizations. Rebutting the “myth of digital universalism,” Loukissas reminds us of the meaning-making power of the local.

L. A. Summers discusses both well-known and less-known loco engineers of Britain.

First published in 2001.The standard work on its subject, this resource includes every traceable British entertainment film from the inception of the "silent cinema" to the present day. Now, this new edition includes a wholly original second volume devoted to non-fiction and documentary film--an area in which the British film industry has particularly excelled. All entries throughout this third edition have been revised, and coverage has been extended through 1994.Together, these two volumes provide a unique, authoritative source of information for historians, archivists, librarians, and film scholars.